There are several factors that make picturebooks diverse. First, depending on how the interaction between text and picture is made, the synergy from two different media creates amazingly varied picturebooks, elevating each other. Second, there is a historical factor. Since picturebooks are made on the basis of life, different life styles, values, and advanced technology of the era are included in the works. Therefore, over time, picturebooks have been dramatically transformed, reflecting the trend of the times. Thus this helps to contribute to the diversity of picturebooks. Especially, in modern times in which computers are commonly used, picturebooks with multi-layered and non-linearity are possible. To make this possible, various divices, such as metafiction, intertextuality, and peritexts are used. Add to this, with the reader's experience and ability to read picturebooks, the possibilities of the creation of picturebooks can be said to be infinite. In this paper, I'd like to examine these three factors that make modern picturebooks diverse, and then find out the implications and the meaning of the diverse picturebooks created in the process. (Hannam University)

This study aims to analyze films by Michael Curtiz and Todd Haynes, whose adaptations of the novel Mildred Pierce pose meaningful questions that advance the understanding of adaptation studies. Mildred and Vida's mother-daughter relationship during the pursuit of their desires, subjectivities, and class mobility forms the main plot and theme of melodrama in James Cain's original text. This research, which proposes different strategies of adapters, focuses on the representation of Mildred's emotions, work, and labor in both films. Curtiz's Mildred Pierce juxtaposes film noir and melodrama, rearranging plots and character relationships, while Haynes's television series follows the original story line, deepening the psychologies of heroines. The original novel's narratives and characters are reflected and transformed based on the adapter's motivation, the audience's expectations, the media industry's needs, and societal ethics. The adaptations' cultural appropriation reworks the source text using a series of narratives, perspectives, and visual signals to provide insights into and an understanding of Mildred as the melodramatic heroine. (Kunsan National University)

Ever since Eve Kosofsky Sedgwick and Leo Bersani showed two ground-breaking analyses, criticism of the male protagonist John Marcher in Henry James's “The Beast in the Jungle” has followed their two main leads. Between Sedgwick and Bersani, this essay on Bersani's side keeps a critical distance from psychoanalytical approach that probes into Marcher's identity as a hidden secret, what Sedgwick calls homosexual panic in heteronormativity. Employing recent queer theory's discussion of queer temporality, this essay examines Marcher's alternative mode of selfhood that does not follow the dominant timeline of heteronormativity. In the frame of queer temporality, I focus on how James undermines the factual sense of timeliness through the failed remembrance of past in Marcher and May's first encounter in the first half of this essay. Doing so, I illuminate the significance of the blurred timeliness in the past temporality on account of its destabilization of the legitimacy of the hidden truth in the past in psychoanalysis. In the second half of this essay, I examine how James pushes the complexity of the temporality through Marcher's mobilizing consciousness in the immediacy of present moment. Along with Marcher's intensified sense of mobilizing consciousness, I conclude that such psychic mobility in the consciousness only in the present is James's profound means of inventing the self as becoming in its constant revision of the past. (Chonnam National University)

This paper explores the positive alternatives of Monro's discourse about life of old age. Monro discusses aging and dementia in several short stories. She pursues a positive way of life as opposed to the conventional negative stereotypes on the elderly and life of old age. For such pursuits, Monro's characters take a reformed, strange and heterogeneous path rather than the fixed familiarity. In the conventional order, in old age, they usually follow a single, comfortable way to “empty and give up,” but Monro's elderly characters do not give up anything because of age. Instead, they maintain their own personality and adhere to being the subject of their own lives. That turns out to be their pride and the essence of life. Although their challenges are unfamiliar and unimaginable at first for the readers to accept, Munro's persuasive discourse opens a new epistemology on life of old age and provides the reader with a new awareness of life. These contents are explored in the main text "Pride" and the secondary texts "Dolly," “In Sight of the Lake,” and “The Bear Came Over the Mountain.” (Hannam University)

Paul Auster's The New York Trilogy, a collection of three different novels, is an unique post-modern work constructed by the different literary influences. As such, intertextuality, a term coined by Julia Kristeva, is a significant literary tool in his work. Auster has been actually much influenced, especially as a translator of French poetry during his stay in France in the 1970s, by Maurice Blanchot who was a wellknown writer, philosopher, and literary theorist. His work has also been influenced by the American authors such as Henry David Thoreau, Walt Whitman, Herman Melville, and Edgar Allan Poe. In an interview with Joseph Mallia in 1987, Auster said that the influence of Samuel Beckett had been so strong that he couldn't see his way beyond it. This paper, therefore, will present an analysis of Paul Auster's intertextuality from a theoretical perspective. (Paichai University)

This study focuses on examining the ideal and communal life of future society through literature by analyzing care ethics in Willa Cather's O Pioneers!, The Professor's House, and Death Comes for the Archbishop. As an ethical analysis that has been lacking in discussion about Cather's works, it aims to shed light on the aspects that the main characters of the works practice the values of a virtuous human society and care by pursuing a co-existence life based on emotional exchanges with the surrounding people. In these three works, Cather notes that each of the main characters in the mainstream society practices his/her own virtues by having a complementary relationship with marginalized characters. He/She tries to communicate emotionally and commune with the surroundings in order to ultimately live a moral life as a right human being. Of course, in the process, the characters are directly involved in negative situations such as infidelity, evil, violence, jealousy, and feud, but they successfully practice their care ethics that can help overcome given difficulties and ensure human autonomy and welfare through trust and sympathy with the community. As such, care that can convey various lives of humans in stories is meaningful in that it can contribute to the completion of virtue in the end. Therefore, this paper observes the care aesthetics the characters embody focusing on their complementary lives, and further explores the potential for harmony and equality-oriented growth of the community that they can have a positive effect on the modern society. (Daejin University)

This study focuses on the strategies of feminist theatre that dismantle traditional female representation. Historically, culture invented its own fictional women, while suppressing them in reality. Gender has been considered fixed, essential, and bipolar. However, in the 1970s, new feminist plays focused more clearly on the ideological character of theatrical representations of women. As shown in The Singular Life of Albert Nobbs, Simone Benmusa reveals historical and social conditions that reflect the male-dominant social phenomena. In addition, history is reproduced as a narrative text, not as a background or setting in the play. George Moore's viewpoint describing Albert's life shows that women have never existed as autonomous subjects in history. In the play, the reaction of the audience is represented by offstage voices which enables them to maintain critical perspectives although it prevents them from being immersed in the play. Furthermore, the cross-dressing reveals that gender is not an innate and natural essence, but a representation formed by society. Through dismantling the traditional representations of women, the play asks the audience what women truly are. To conclude, this phase is a vital step to expand the scope of women's social influence and to actualize more accurate representation of women. (Chungnam National University)

The purpose of this paper is to show how Williams developed his poetic techniques with varying theories. The progress of his poetic theory is drawn from the influence of other artists―Imagist and Zukofsky. His poetic techniques develops from the early 1910's through 1920's to the early 1930's. Each period represents his attention to the poetic elements: from the thing itself of Imagism to the object and structural necessity of Objectivism. His development of poetic techniques takes a dialectical pattern to achieve a final theory of Objectivism. His dissatisfaction with Imagism caused by his awareness of structural necessity in poetry led him to his later involvement in the Objectivist movement. He often emphasizes the 'structural necessity' of his new poetic practice: 'Imagism completely lacked structural necessity,' and 'the Objectivist attempted to remedy this fault by fusing with each image a form.' He often emphasizes the “structural necessity” of poetry in terms of this theory of Objectivism. If Imagism changes the reader from the real world to the actually experienced world of the artist, Objectivism will take one further step. It will change the reader from the experienced world of the poet to the created world of the poem, where he experiences the creation directly. It moves, logically, from the world in itself to the world the poet perceives, and from thence to the world the poet makes― the 'complete little universe' of the individual poem. (Nazarene University)

Virginia Woolf's Mrs. Dalloway is a novel that is interpreted variously by numerous feminist thinkers due to the complexity and ambiguity of its meaning. This paper aims to reevaluate the value of the feminine labor shown in Mrs. Dalloway in light of the concept of the affective labor of Antonio Negri and Michael Hardt. To achieve this goal, this thesis first looks at the concept of Spinoza's affect, which Gilles Deleuze interpreted, and how it was expressed in the novel. Affect refers to immateriality that is materially and ideologically impossible to reproduce between idea and idea, immaterial affect that is shown through constant encounters of joy and sorrow in Spinozian terms. If the goal of life is ultimately to achieve stability and freedom by increasing pleasant encounters, feminine labor demonstrates the biopower to achieve this goal. Therefore, lastly, I delved into how Mrs. Dalloway and the labors of Rezia in Mrs. Dalloway display their biopower and rebuild their post-war lives. Through this process, Woolf's idea of feminine labor can be understood comprehensively. (GyeongSang National University)

Studies in English Language & Literature 46.3 (2020): 191-231. This study focuses on analyzing the novels of Alicia Gaspar de Alba and Emma Perez, who are the representative writers of Tejana literature, from the perspective of decolonial queer erotics. First, La Malinche, the most frequently mentioned among three mythical Mexican mothers (La virgin de Guadalupe, La Malinche, and La Lorona), will be discussed from the perspective of radical Chicana feminism. The rewriting of the La Malinche Myth as The Decolonial Imaginary will also be examined, and the genealogy of the daughters of La Malinche will be traced. Alicia Gaspar de Alba's Sor Juana's Second Dream chronicles a lesbian nun who challenges 17th-century patriarchal oppression. Emma Perez's Gulf Dreams explores the portrait of modern Chicana's desire to resist patriarchal violence. While the desires expressed in Sor Juana's Second Dream and the model of the Lesbian Continuum preserve the beautiful legacy of separatist lesbian feminism, the borderotics in Gulf Dreams presents the vision of a revolutionary queer utopia. Thus, the two novels converge, constructing geographies of multicolored desires through their decolonial Chicana lesbian narratives. (Chungnam National University)